MOVIE.nfo

Google
 
Web abhikumar163.googlepages.com
www.download.com www.softpedia.com

Saturday, October 07, 2006

Jaan-e-mann [movie Preview]

Jaan-e-mann


Suhaan Kapoor (Salman Khan ) is a cool dude, the long-haired rock singer, the wannabe star. He's immature, full of himself and his dreams.

Only when he's on the verge of losing everything, he finally wakes up to what really matters in life.

Agastya Rao (Akshay Kumar), as the bespectacled geek, the frilled shirted, desperate suitor, is sure to melt many hearts.


He cannot talk to save his life, gets tongue tied with the woman he loves. He's sweet, shy and simple and believes in the power of love.

Both Suhaan and Agastya love Piya Goyal (Preity Zinta) who is strong yet strangely vulnerable.

She appears to have everything - beauty, brains, wealth and heartache that refuses to go away.

Piya is a college beauty. She is the princess whom every guy wants to fall in love with.

College gets over and all three of them go to their respective paths.

Ten years have passed. Suhaan has achieved his ambitions, lives in the perfect world, he has everything except Love.

Agastya is in his own world doing what he did the best. Work hard. He works hard so that others can earn money. He still hasn't found his love.

Piya now lives alone with no luck in love for her too. Then suddenly, one sunny afternoon all three meet…Accidentally….


But there are going to be happy times again. And they will fall in love once again. To utter the divine word - Jaan-E-Mann! 

Khosla Ka Ghosla

Khosla Ka Ghosla

Cast: Anupam Kher, Boman Irani, Parvin Dabbas, Tara Sharma, Ranveer, Naveen Pathak
Director: Dibakar Banerjee

Kamal Kishore Khurana(Anupam Kher) with a plot in hands of Land Mafia, a son Chiraunji Lal Khurana(P Dabas) changing name 'n going out 'n Gastric Dreams ;)



Kamal Kishore Khosla (Anupam Kher), is a simple man by nature with simple desires who always brings a smile on the most serious of situations.

His only dream in life is to build his own house on a plot of land which he intends to buy - a plot where he would build his small little 'ghosla' (meaning a nest).

To his horror he realises that the plot he thought of buying had already been booked by a land shark (Boman Irani).

And this man is sure about the fact that the only way Khosla gets his 'ghosla' is if he pays up a large sum of money.

Not only does Khosla sees his dream shattered, but also finds that his life savings is dwindling. That's because his own son now wants to settle down in America and wants dad to pay up.

What's more, Khosla's dream of staying with his entire family of children and grandchildren in the house of his choice now seems to be an impossible dream.


All attempts at getting back his property fall on deaf ears. Will it be possible for him to gain all that he has lost?

His colleagues decide to help him. But before he can agree to go ahead Khosla must make sure that they genuinely want to help or do they have a plan of their own?

A hilarious comedy in the making, the film focuses on relationships, trust and togetherness.

Dibakar Banerjee makes his directorial debut with this film which was screened at the Cannes film festival earlier this year.

Don [the remake of a Classic]

Don

Farhan Akhtar's Don is a remake of the classic Amitabh Bachchan starrer DON (1978). The story starts when a huge Indian contingent embarks on a dangerous cat-and-mouse trail of capturing DON (Shah Rukh Khan) - the ruthless drug mafia in Malaysia.

When Don gets seriously injured in a police encounter, the word that he is dead begins to do the rounds.

The reality, of course, is that Don is held captive in a secret location, while his bumpkin of a look-alike, Vijay, is polished and sent to take down Don's gang.

In a bizarre twist of fate, when the man shielding the humble and streetwise Vijay, is killed, the latter comes to terms with the horrifying realization that both the police and the gang are out to nab him for different reasons.

In a desperate attempt to prove his innocence, he is aided by the glamorously staggering Roma (Priyanka Chopra), and handsomely striking, Jasjit (Arjun Rampal), who owes Vijay a favor for care-taking his son during his imprisonment.

But will Vijay be successful in his mission?

Based on the successful erstwhile classic of the same name, which featured the legendary Amitabh Bachchan, the contemporary and stylishly crafted DON, features Bollywood czar Shah Rukh Khan playing a double role in one of the most defining performances of his career, teamed for the first time with former Miss World, Priyanka Chopra.

The biggest and most keenly awaited motion picture of 2006 and will be released on 20th October 2006

Zindaggi Rocks

Zindaggi Rocks

Starring: Sushmita Sen,Shiney Ahuja, Moushumi Chatterjee
Written & Directed by Tanuja Chandra
Rating: ***


Hey, this film rocks! Tanuja Chandra's Dushman and to some extent Sangharsh and Sur, were incredibly sensitive films. After a long hiatus the director returns to form with a film that's heartbreakingly real.

Colonized by a cluster of believable characters, Zindaggi Rocks showcases Sushmita Sen's awesome personality in a tailormade role of the fey-and-fab Kriya.

A stage performer and a single mother, the role acquires a tangy flavour and an abiding character that only Sen knows how to create.

"But have no fear," her 13-year old utterly endearing son Druv (Julian Burkhadt) mischievously tells the doctor who's getting interested in her. The mom ain't married. Nor is she an unwed mother.

Kriya, trust her to be unpredictable, adopted Druv when he was 2. Dhruv's majestically malfunctional family comprises only of wacky women, mom Kriya, Kriya's mom (Moushumi Chatterjee) and her wacked-out twin sister (Moushumi, in a double role, a carryover homage to Kajol's twin act in Tanuja's Dushman ), a squeaky secretary (Kim Sharma) and an assistant (Ravi Gossain) who believes he's a cowboy.

Into this mad-house of malfunctional wackos comes the hesitant repressed Dr Suraj Rihan (Shiney Ahuja).



The Sushmita-Shiney relationship grows in full of view of the fingers-crossed hospital staff and the equally curious and encouraging family of Kriya's relatives.

Tanuja Chandra portrays the warmth at work, at play and within the defined comforts of domesticity with a deftness and warmth that you'd come across in the finest works of Hrishikesh Mukherjee. Or more with the times, the cinema of Mira Nair.

From little domestic vignettes the director constructs a big-little film with moments where a giggle grows grim, right in front of our riveted eyes. The emotional control of the narrative is exceptional.

The support provided to the film's frail yet strong narrative by dialogue writer Mudassar Aziz, is beyond substantial. The words, specially those spoken by narrator Shiny Ahuja convey deep home truths with a throwaway casualness.

You smile and you sob almost simultaneously as Kriya's life as a professional, a mother and a woman in love (in thar order) comes together in a fluent and virile clasp.

The film's deeper thrusts on life and death emerge effortlessly from the rhythms of the routine.

Indeed there are so many endearing moments in the narration that you wonder if the warmth of lived-in emotions comes from the characters or their ability to be true to ambience that they represent.


The film has a charming ensemble of actors, instilling optimum conviction in the plot without losing their innate charm as stars of substantial longevity. As contrasting twin sisters Moushumi Chatterjee comes into her own after ages

. As for Shiney his tentative eyes filled with the pain of a tragedy that paints his past and threatens to colour his future, and his coming out of his self-imposed shell is mapped by the actor in fine and sharp strokes.

A special word for the boy Julian Burkhardt who plays Sushmita's son. The boy's winsome personality is so unders-tated, you wonder if actors are made from their childhood.

But it's Sushmita Sen who holds you in a thrall. As a working woman struggling to remain chuckle-motivated as life comes and kicks her from behind, Sushmita makes you wonder once more.

There's no one quite like her? If in her musical numbers she whips up a vigour that breaks your heart, in key emotional scenes she rips the screen apart with emotions that comes straight from her guts.

After Chingari earlier this year Sushmita again pours a volcanic intensity into a role that would work with no other actor in the world.

And a word for Sunidhi Chauhan's vocals,. If Sushmita provides the body and soul to her part of a fiercely protective mother who will give a new life to her ailing son no matter what it takes, Sunidhi is the voice that caresses the actress's soul…and then she's gone!

In a year that's cluttured with remarkable films, Tanuja Chandra has emerged with a work that lodges itself in your heart.

But I wonder if it would've worked so well without the amazing Ms Sen!

Woh Lamhe


Woh Lamhe

Starring Shiney Ahuja, Kangana
Directed by Mohit Suri
Rating: ***

Woe lamhe….wow lamhe! Bitter moments, ecstatic moments, gut-wrenching trauma and heart-breaking ecstacy …these are feelings that define the moments between the director and his muse in this accomplished take on man woman and guile.

Welcome to Mahesh Bhatt's world of dark desperate shadows where the fragile are broken and the sensitive damaged beyond repair.

Ripping chapter after chapter out of Parveen Babi's lacerated life, director Mohit Suri has created a pastiche of pain that lingers in the mind.

Love always hurts in Mahesh Bhatt's vision of life. WohLamhe shows love at its painful best. Moving away from the glitzy make-believe world of films, media and other fable-manufacturers the director Aditya (Shiney Ahuja) rescues the 'trapped' actress Sana (Kangana Ranaut) from a life of dungeon-like professionalism.

The trapped actresss and the knight in a shining armour is nothing new to Hindi cinema. We've seen the pair in films like Sone Ki Chidiya, Tere Mere Sapne and Mast.

What gives Bhatt's brackish fable that cutting edge is the sense of reality as experienced from eyes that are gradually losing focus.

The director-actresss love story is so devastatingly workable because of the ball-and-socket impact created by the two principal performers.

It isn't easy to portray a character who must stand by a woman he loves even if she's losing her mind. Shiny Ahuja plays the director like a a therapist who can see his heroine's tortured soul through the lens of his camera. He brings a clenched anguish to his character.

But it's Kangana who makes the story of the tormented actress cross the brorders of brilliancy. Unlike other leading ladies playing women beyond the brink (notably Smita Patil in Mahesh Bhatt's Arth) Kangana keeps a tight control over overt articulations of expressions, so that when the outbursts happen they've a whiplash effect on the audience.

A hugely expressive actress with a phemomenal ability to convey torment hurt and incredulity through the eyes, Kangana is the first female performer of Bollywood since Smita and Shabana who isn't scared to strip her soul naked for the camera.

Not surprisingly she's far more effective expressing the vulnerable state of her character's mind in the privacy of her beloved's bedroom rather than 'playing' the superstar at filmy parties with her caddish boyfriend-cum-secretary (Shaad Randhawa) egging her on to grin for the cameras.

In a way the partial discomfort in Kangana's personality aids the film's theme. Showbiz isn's for the soft at heart. And this isn't a film for those who believe all love stories are about roses. Often a relationship is based on thorns rather than flowers.

Watch Shiney pluck those thorns out of Kangana's soul as her silent screams fill the soundtrack with images of unspoken nightmares.

You wish some of the supporting characters were less stereotypical….the heroine's brutish boyfriend, the hero's jovial sidekick, the actress' uncaring mother and sundry fringe people don't add any vigour or even a dash of vinegar to the meal.

That again is a blessing in disguise. We get to see Kangana's ability to exteriorize the demons within her character, in a no-frill flight into panic. 

Dor


Dor

Starring: Gul Panag, Ayesha Takia, Shreyas Talpade
Directed by Nagesh Kukunoor
Rating: **** ½



How far would you go for love? That's the question which the narrative softly raises.

How far would YOU go to see this film? That's the question every movie-enthusiast should ask loudly.

Very frankly, Dor takes you by complete surprise. Of course you expect a certain aesthetic and technical finesse in a Kukunoor creation. But nothing he has done so far—not the under-rated 3 Deewaarein and certainly not the hugely-feted Iqbal—prepares us for the luminous spiritual depths and the exhilarating emotional heights of Dor.

The stunningly original screenplay sweeps in a caressing arc, over the separate yet bonded lives of two women, Zeenat (Gul Panag) in the snowscapes of Himachal Pradesh and Meera (Ayesha Takia) in the parched sand-storms of Rajasthan.

The picaresque pilgrimage of one woman into the life of another is charted in the resplendent rhythms of a rather zingy symphony played at an octave that's at once subdued and persuasive.




Dor could any time lapse into being one of those tedious works on women's emancipation. Kukunoor controls the emotional tide with hands that know when to exercise restrain and when to let go.

Dor flies high and effortlessly in an azure sky, creating elating dips and curves in the skyline without ever letting go of the thematic thrusts that take the director as far into the realm of realism as cinematically possible, without losing out on that wonderful quality of cinematic splendour that separates poetry from sermons.

Join Zeenat,then, on her bizarre impossible quest to find a achingly young newly widowed woman whom Zeenat has never seen, met or even heard of until her husband's sudden tryst with crisis.

The way Kukunoor weaves the two unconnected lives in contrasting hinterlands is not short of magical.

The eye for detail (take a bow Sudeep Chatterjee, Munish Sappal, Sanjeev Dutta and Salim-Suleiman for conferring a subtle but skilled splendour through your cinematography, art direction, editing and music) is so keen, you tend to stare not at the screen, but at feelings and emotions that aren't visible.

From the initial scenes of tender bonding between between the two women and their respective spouses , to the indelible sisterhood between the two bereaved women that constitutes the end-notes of this sublime celluloid symphony….Kukunoor's world of wistful peregrinations is as fragile as it's powerful.

The quality of fire-and-ice is not just all-defining, it also provides a subliminal text to the narrative's inner world where ideologies and 'isms' fade, only pain hurt and betrayal remains.

There're moments of unbearable poignancy in the film. The sequence where the child-woman gone from bright bride to wan widow in months, opens her dead husband's suitcase, is remarkable for creating a disturbing sense of spatial disharmony…The frailty of the widowed girl is weighed against the huge expanse of the crumbling room containing that one tiny accusing blue suitcase that symbolizes her shattered world.

Scenes of female bonding between Ayesha Takia and her dead husband's grand mother (Uttara Baovkar) convey a familiar yet refreshing genuineness.

But it's the Takia-Panag sisterhood that sustains the narrative. Both the actresses are huge revelations, Takia winning more sympathy votes for the sheer poignancy of her character's predicament.

Scenes such as the one where she falls unconscious while hearing the news of her husband's death over the only cellphone in the village, or the one where she furtively dances to You're my sonia stay etched beyond the frames.

Chunks of the film where Zeenat tries to locate Meera are designed as an ongoing travel-adventure. You wish Kukunoor hadn't introduced Shreyas Talpade's character ….He adds nothing to the central theme of female bonding. In fact Talpade's drunken confessions of love to Panag in the wilderness, and Kukunoor's obtrusive appearance as a engineer who has designs over Takia, are somewhat embarrassing.

It's not as if such things don't happen in real life. It's just that these situations don't belong to a world that Kukunoor has built out of the finest threads of humanism compassion and empathy.

Is Dor one of the most poignant films in recent times? Most probably it is. When it comes to portraying a forlorn yet undefeated sisterhood it stands tall and stately right up there with Deepa Mehta's Water.

Rocky


Rocky 

Starring Zayed Khan, Isha Shravani, Minissha Lamba
Directed Suressh Krishna
Rating: *

Aeons ago Suressh Krishna directed the mighty Kamal Haasan in a psycho-traumatic double role in Abhay.

The interesting but unsettled thriller about twins on the rampage didn't work. Krishna returns to Hindi cinema with what looks like Abhay going the Sylvester Stallone way.

Remember the boxer Rocky and how his junoon in the boxing ring was restrained after a traumatic incident?

Cleverly(?) the writers of this routine actioner wrench our new-age Cocky Rocky out of the boxing ring. And put him in the far more sinister ring-with-a-sting known as the concrete jungle.

Cocky Rocky—God bless his bleeding heart—can't bear to see goons pulling at ladies' unmentionables or invading a suspiciously studio-staged cyber café to disrupt what looks like a bunch of guys peering at porn sites(we can't be sure because they all sport stock- expressions of forced concentration).

Cyber Café's villainous visitors are goons sent by a super-goon named Anthony(Rajit Bedi, trying hard to look like a mean cocaine sniffer). Recently I've noticed filmy villains have Christian names. Maybe filmmakers are scared of going into the other minority community for goon- sukoon.

Call them by any name, these graduates from goon school look like left-overs from Ram Gopal Varma's Shiva. They run helter-skelter on the roads and recreational spots of the metro, trying to scare the daylights out of law-abiding citizens. The god-fearing types include Cocky Rocky's scared father(Sarath Babu from the South sporting an accent so thick, you could mistake him for an owner of an Udipi restaurant instead of the banker that he plays) and a surprisingly happy and over-the-top Mom played by Smita Jaykar.

Papa tells sonny-boy(a.k.a Cocky Rocky) "No fighting!" after the boy's gilrfriend no.1(Isha Shravani) is done to death by Anthony.

But have no fear, there's girlfriend no. 2 Minissha Lamba in London who chases Cocky Rocky and chases down Black petty criminals with equal out-of-breath sincerity.

Cocky Rocky's stocky daddy realizes there's a Goon School in London too.

"Let's go back, Beta, to beat the hell out of Anthony in Mumbai," Daddy commands.

Make up your mind, Dad! Not that anyone seems to have much brains in this mindless homage to metrocentric mayhem.

Rocky looks thoroughly confused all the time … Zayed Khan who plays the title role gives deadpan acting a new definition and vigour.

You really can't get any more deadpan than Zayed Khan. And you really can't make a more straightforward clichéd actioner than this one.

The actors fake the fear and the retribution. Not that you care much about either. But at least when the going gets tough you expect the tough to get going.

There's just no escape from this one. Rocky just assails your senses with a bit of sub-standard cinema.

Unless you are a diehard Zayed Khan fan who likes to see him grin and grimace with equal placidity, don't bother.

Thursday, February 16, 2006

Aryan

Aryan


Aryan (Sohail Khan) is a college champ and dreams of winning the Nationals.
He is being given tough training by coach Ranveer Singh (Puneet Issar).
His love Neha (Sneha Ullal) is more than his better half.
She is his strength and support system. He needs her at all moments.
Life takes a curious turn.
Aryan gives up pursuing his dreams and marries his love instead.
The couple have a kid and they start leading a common man’s life.
Aryan takes up the job of a sports commentator.
But his professional and personal lives take a nose-dive.
His coach gives him strength and asks him to take up boxing once again.
But by now, his wife is not with him.
What happens later… this is the story line of Aryan-Unbreakable?

FightClub

Fight Club

Fight Club revolves around four friends,
Vicky (Zayed Khan), Karan (Dino Morea), Somil (Ritiesh Deshmukh)
and Diku (Aashish Choudhary), who in a constant endeavor to help each other,
get entangled in a web of incidents, some romantic, many funny and all that test the extremes of their friendship.
Vicky is an outgoing, dashing college guy whose life revolves around his friends.
Karan is Mr Perfect who always thinks that he is right.
Somil is an observer and thinker by nature.
Meanwhile Diku isn't mature or shy, but is rather a live wire and usually the centre of attraction.
These four friends who could be mistaken for brothers;
offer an example of wonderful camaraderie, all throughout a journey with numerous highs, twists and dark turns.
An exciting journey is accelerated when Vicky stumbles upon the design of a Fight Club.
A club which gives people a platform to score with their enemies in a atmosphere of fun, action and excitement.
Amidst the on-going fun, team fight club get entangled in affairs of the heart and mind with Anu (Dia Mirza) and Shonali (Amrita Arora)
which thicken their bonds tighter…and make them travel to Delhi to look after a nightclub, 'Crossroads', which is in the eye of a storm created by Delhi's most dangerous gang lords.
Gang lords who kill to survive! In the ongoing ever-increasing drama, the ex-king pin Anna's (Suniel Shetty) brother Mohit (Yash Tonk), gets killed.
This fills Anna with vengeance …situations take an ugly turn….time calls for a clash…Dinesh (Ashmit Patel) a merciless soul, masterminds the plan of a killing.
His brother Sandy (Rahul Dev) gives him strong company as always.
Team Fight Club calls on their ace, Sameer (Sohail Khan), a power packed bouncer to tilt the balance in their favor.
In the puffed up atmosphere of fists and fights Sameer finds love in the name of Komal (Neha Dhupia).
Now, in a strange new city, these five boys from Mumbai experience love, passion and also the worst enemies in the form of gang lords that one can even imagine.
Watch team Fight Club as they give action a whole new meaning and take you on a maiden voyage full of comedy, romance, thrills and action like never before.
This summer…welcome to a club that is more than just drinks and dance…

Tom Dick Harry

Tom Dick Harry

Tom Dick Harry is a roller coaster ride with three physically impaired people.
Dino Morea is Tom. He is Deaf. He can Hear what you can not…
Anuj Sawhney is Dick. He is Blind. He can See what you can not…
Jimmy Shergill is Harry. He is Dumb. He can Speak what you can not…
They live together as paying guests, and their life takes an endearing turn when Celina (Celina Jaitley), comes to live in the bungalow opposite their house.
She is Akthar Chacha's niece who comes to live in their colony and all the three guys fall in love with her at first sight…well maybe not Dick.
They start making their moves to cast an impression on Celina, who is least interested in acknowledging their presence.
Whereas in Tom's life there's Bijlee (Kim Sharma), a machchiwaali, who is completely besotted by Tom, and does not leave any stone unturned to express her desire.
And then there is Suprano (Gulshan Grover) - a Bad Man who is out to prove that he is the worst villain ever.
Tom, Dick and Harry - Unknowingly become the target of Suprano, by being the biggest barrier in his business deals.
How, When, Where - ?
The wild goose chase between Tom, Dick and Harry over Suprano and cops is an out and out comedy of errors, see it to believe it!!

RANG DE BASANTI

RANG DE BASANTI

Director : Rakeysh Mehra
Music : A.R. Rahman
Starring : Aamir Khan, Siddharth, Atul Kulkarni, Sharman Joshi, Kunal Kapoor, Soha Ali Khan Pataudi, Alice Patten, R. Madhavan, Waheeda Rehman, Kirron Kher and Om Puri

Mehra's protagonists, an assorted bunch of collegians and post-college friends, are played with amazingly casual grace by Aamir Khan (DJ), Siddharth (Karan), Sharman Joshi (Sukhi), Kunal Kapoor (Aslam) and Soha Ali Khan (Sonia).
Into their world of endless fun and aimless aspirations comes a pretty and brainy British girl named Sue (the lovely and graceful debutant Alice Patten). Prompted by her colonist-grandfather's diary, Sue wants to make a film on the life of the legendary Indian freedom fighters - you know, Bhagat Singh, Chandrashekhar Azad, the works.
And guess what? Sue wants to cast DJ and gang as the revolutionaries!
The guffaws and the giggles that follow Sue's dreams fade away, as this youthful brigade of adrift dreamers gets down to the ritual of acquainting itself with Indian history.
RANG DE BASANTI dares to point fingers, and tells us where we've gone wrong. It isn't only a film about the education of a moor less generation; it's also an outstandingly accomplished piece of cinema. Mehra proves himself an outstanding raconteur and technician. With the deft and diligent editor (P S Bharathi) tailoring the past to merge fluently into the present, and Binod Pradhan's camera capturing Delhi and its surroundings as a character rather than cities, Mehra's job of bringing the past into the same line of vision as contemporary India, is rendered inevitable and unforgettable.
RANG DE BASANTI is an extremely ambitions film. It tries to educate the generations in Independent India who have brought the country to its current crisis of moral and political corruption. But it never gets hysterical or polemical, thanks to Prasoon Joshi and Rensil D Silva's conversational yet penetrating dialogues.
Mani Rathnam attempted the same theme in a different less dramatic light in YUVA. Rakeysh Mehra goes many steps ahead. He blends historical events from the past (e.g the massacre by Britishers at Jallianwala Bagh) with today's newspaper headlines (the MIG war-planes scam). The film-within-a-film format (earlier attempted in films as diverse in language and intent as Karel Reisez's THE FRENCH LIEUTENANT'S WOMAN and Mrinal Sen's AKALER SANDHANE) gives the narrative the texture of a life lived in layered luminosity.
Not for a second does Rakeysh Mehra falter in his vision. The story of today's youth, their lack of connectivity with their past, and the prevalent moral degeneration of the nation, could quite easily have lapsed into a holier-than-thou jingoistic exposition.
RANG DE BASANTI works wonderfully and exceptionally as both a political parable and a spanking story on the scars of the times. In the fusion of fact and fiction, style and content the film is both teasing and tempting. While you applaud the filmmaker's immense stronghold over his storytelling the characters never seem dwarfed by their ambience.
You come away, haunted and bewildered by the issues that Mehra raises without letting his story suffer in the process of linking the modern tale with history. You come away from RANG DE BASANTI enchanted by the natural verve of its songs and dances, its director's flair creating fissures and feeling from within the characters rather than imposing creative authority from outside.
This is the most aesthetic 'Indian' film since Sanjay Bhansali's DEVDAS, though miles removed in colour and mood. The 'actors' (if what the cast does can be described as acting!) mesh so well with each other that the volatile thematic strands (for instance the friendship that grows between the rabid Hindu played by Atul Kulkarni and the liberal Muslim Kunal Kapoor) never bind down the narration.
The free-flowing enchantment induced by this film about the simmering discontent of a nation and a generation hurling into damnation is so real and yet so surreal, you wonder if there can ever be a film so filled with indignant ideas and yet so calm and spacious in its storytelling.
In hundreds of ways Mehra could've milked every frame for emotions. Where he could've opted for melodrama he pulls back… and lets the tears flow only when the MIG pilot (Madhavan, in an endearing cameo) perishes. The song during the funeral sung by Lata Mangeshkar, picturized on the mother (Waheeda Rehman) rips your hearts open.
There're interludes and visuals in RANG DE BASANTI, which shall remain alive forever. There may be better films. But there will never be another one quite like this one.

Mere Jeevan Saathi

"Mere Jeevan Saathi"

Director : Suneel Darshan
Music : Nadeem Shravan
Lyrics : Sameer
Starring : Akshay Kumar, Karisma Kapoor, Amisha Patel

The anti-heroine as a predator has been done to bludgeoning death by actresses as varied as Glenn Close in "Fatal Attraction" and Urmila Matondkar in "Pyar Tune Kya Kiya".
Karisma's obsessive act is watchable. Though she doesn't really get sturdy support from the script (which wobbles more dangerously at times than Karisma's rising voice pitch), she leaves us with the feeling that she retired a little too soon.
This isn't the first time that Akshay plays a man sandwiched between two demanding women. Moving effortlessly away from the comic cosmos of his recent films, he plays his role with quite an abundance of native charm.
Here's an actor who has grown more watchable with every passing year. And yes, it wouldn't be wrong to say he prevents "Mere Jeevan Saathi" from crashing loudly to the ground.
Amisha's sweet, oblivious, angel's act careens dangerously between ham and cheese. That's understandable when Akshay is the pet squeeze.
But the ones who bring down the film's precarious credibility considerably are Gulshan Grover and Ashish Vidyarthi. Their archaic and bland comic villainy grate on your nerves.
Pick up pieces from this fragmented triangle if you want to.

Saturday, February 04, 2006

15 PARK AVENUE

15 PARK AVENUE
Director : Aparna Sen
Starring : Shabana Azmi, Konkona Sen-Sharma, Rahul Bose, Waheeda
Rehman, Soumitra Chatterjee, Dhritiman Chatterjee, Shefali Shah
Coming from the creator of the timeless 36 CHOWRINGHEE LANE, 15 PARK AVENUE is a bit of a downer. Sen's superb sensitivities seem to peep out at us from all quarters in this attractively packaged, wonderfully performed film about coping with an illness.
The trouble is, nothing fits. Not the relationships, not the narrative pieces that keep slipping in and out of Sen's hands with infuriating impunity.
Of course the director's heart is in the right place. Isn't it always! But what is she trying to say here? Is this the story of two sisters, one older wiser and normal, the other all messed up in the mind… or is it a treatise on the real and the unreal?
And the fact that Mithi (Konkona Sen) in a totally uncalled-for plot convulsion, is gang-raped by Bihari louts during a dangerous mission in Bihar, doesn't help the poor girl's psychological equilibrium… Or our understanding of how painful life could be for those who don't fit in.
Trouble is, Sen's screenplay is too troubled by the task of getting the mechanics of the illness right. We get shots of Konkona puking fashionably all over the bedroom carpet, shots of blood from her slashed wrist splattering the bed… or the blood on her thighs after she's raped in a hotel room and thrown out in the corridor.
The brutality of life and the beauty of the filmmaker's vision do not fuse in any combustive alliance.
We feel for Mithi and her vocally harassed sister. But the feelings aren't allowed to run deep enough. Instead of focusing on the troubled traumatic relationship between the two sisters and how the elder balances her siblings overpowering imbalances, Aparna Sen brings in a crowd of vacationers into the plot.
One moment we get a vivid glimpse into the elder sister's scarily solitary battle to keep Mithi's illness in check. The next moment we're privy to Rahul Bose's introspection on the mentally ill girl's romantic liaison with him. Rahul is, as usual, staunchly supportive. You wish a director of Aparna's sensitivities would use him and the other talented male actors (Dhritiman Chatterjee, Soumitra Chatterjee) as more than mere supportive emblems in a ladies' tale.
As Rahul’s suspicious and jealous wife Shefali Shah delivers a surprisingly punch-packed performance. She has limited space. And she uses it to the optimum… sometimes a little too much so, as though she knows Hemant Chaturvedi's steady and searching camera would soon move on to the two other distinguished actresses who form the core of the conflict.
That again is symptomatic of the narrative's problem with creating proportionate shadows in its architectural design. Light and shade fall in unmeasured patterns, often creating a strangely sterile kingdom of crisis in characters that are driven by demons that they don't comprehend.
Finally, what you're left with are the performances. Shabana towers over almost every aspect of the film. Watch her closely when she watches her screen-sister being whisked away to the asylum - a predictably sentimental moment lifted by Azmi's ability to ferret out the truth even in maudlin moments. At times, specially when flirting mildly with the shrink (Dhritiman Chatterjee) Shabana gets skittish, as though she was purposely trying to lighten the burden of being.

>ITS A POOL OF GR8LY TALENTED ACTORS GIVING THEIR INPUT<

Friday, December 23, 2005

Few Quick Links

Few Quick Link To Movie Reviews:

FAMILY
DOSTI - Friends Forever
SHIKHAR
ZINDA
APAHARAN
Mr Ya Miss
Home Delivery
BluffMaster
Ek Ajnabee

Sunday, December 18, 2005

visit

Thursday, December 15, 2005

FAMILY

FAMILY

Rajkumar Santoshi's Family is a movie entirely based on the battle between two families who moves in their different orbits; nothing binds them together. They don’t even know each other, but the families of Viren Sahai and Shekhar are entangled by fate. Instigated by tragedy and fuelled by revenge, both the families will come face to face, when an irrecoverable collision will spark an inferno, consuming and destroying everything that comes in the way. VIREN SAHAI’S FAMILY LIFE… “Can all the power on earth save the destiny of his family."

Family is the story of Viren Sahai (Amitabh Bachchan), suave, sophisticated and ruthless gangster, who has experienced the darker side of his life. He thinks that life is nothing beyond the power, success, wealth, and fear. Only thing he knows in his life is MONEY and POWER of valor and how to maximize. Later he realizes that if one doesn’t have family, you have nothing. Sharda (Shernaaz Patel), sweet and simple, she is an unlikely wife for the ambitious and ruthless Viren Sahai. She is a woman who feared that her family would have to pay for her husband's sins and now finds that the time has come. It is about the price she has to pay now, to protect her family. Part of her simplicity stems from her rigid sense of right and wrong and she will never forgive the guilty, even if it’s her own husband. Abhir (Sushant Singh), he’s Viren Sahai’s beloved son. He is a spoilt brat, egoistic, heartless, who will indulge himself in most heinous crimes, confident that his authoritative father is always there to protect him from legal proceedings. And when it comes to protecting his family, for him, family is not as important as his prime priorities SHEKHAR’S FAMILY LIFE… “Every family has a destiny”

Family is the story of Shekhar (Akshay Kumar), Simple, hard working and sentimental, his life is full of sparkling happiness. He didn't have much in life, but he ensures his responsibility towards his family to pays off all debts of his Family. His wife Dr. Kavita (Bhumika Chawla), dedicated and sincere towards her profession, but at the same time she has wacky sense of humour outside her clinic life. She loves Shekhar and his family and believes that family is not only about BLOOD TIES, but also more about LOVE TIES. On the other hand Aryan (Aryeman), unlike his elder brother he is over-pampered and runs to his elder brother as soon as he is caught in the clutter. He has one code word ‘KING’ which means he is in trouble.His strength is powered by the love and support of his family, which enables him to take revenge on the valor gangster.


On the whole this battle will create ‘hue n cry’ ignited between two families, which will also result lot of life loss and emotional trauma. … the body count will rise, blood ties will weaken, and faith will be shaken. But in the end … when everything seems to be lost and nothing remains to be won, in the end all that will matter is family… and just Family

DOSTI - Friends Forever

DOSTI- FRIENDS FOREVER

DOSTI- FRIENDS FOREVER, a heartfelt story of eternal friendship sketched by Suneel Darshan. Similar to his previous movies, this movie also deals with emotional sentiments of human being. In this movie, Suneel narrates the story of two friends articulating the immortality of the friendship.

As the name suggests, the story revolves around the life of two friends Raj and Karan, enacted by Akshay Kumar and Bobby Deol respectively.
Its always said that ‘Birds of the same feather flock together’ whereas in DOSTI, Raj and Karan both are as different as they can be, yet they found a common road that leads to glorious Friendship. If Karan supported Raj at every step, Raj covered up for all of Karan's misdoings. They laughed together, lied together, loved together and fought the odds together all to protect their friendship. Existence of both, to each other was driving force for both of them to live their life happily.Karan, a wealthy person who owns jet to fly wherever he wants, who believes in flirting with girls and enjoy his life to its fullest.


Karan - big time Casanova, girls drooling around him was proverbially known as one-woman man. Karan had family but always craved for true love Unlike Karan - a mansion habitat, Raj who has only two feet on which he can depend upon while Karan's jet ensured that he could fly wherever he wanted. Raj had love to share, but craved a family.
Their canopy faith on their friendship made the cruel world to be an obstacle in their friendship. It was the so-called society that always believed that how long could an unequal relationship sustain? Karan and Raj defied conventional notion proving that true friendship was above all such worldly conceptions.

On one fateful, out of the blue day their friendship was on stake due to some confusion, misunderstanding or ego conspired by people who envied their friendship. The story has been enweaved in such a manner that it will create curiosity among viewers to know more and more about survival of Raj-Karan’s friendship.

SHIKHAR

SHIKHAR


John M Matthan, who successfully dealt with the critical issue of terrorism with his directorial debut ‘SARFAROSH’ is now set to release his latest venture ‘SHIKHAR’. Unlike his debut, which had a concept of patriotism and terrorism prevailing in India, whereas this movie is entirely based on basic instinct of a human being to desire to reach at ‘Shikhar’ (zenith).
Shikhar revolves around the issue related to builders, landlords and their tenants who are being pressurized under the superior people of society. How far can greed take a man? This is the basic gist from which the story line is up-rooted. It’s an unusual story about the conflict between those who adhere strongly to traditional Indian values and a breed of young Indians that have sprung up, wanting to get rich fast by any means. The movie has a promising cast, starring Ajay Devgan (GG, Gaurav Gupta), Bipasha Basu (Natasha) and the ever-loving pair Shahid Kapur (Jaidev Vardhan) and Amrita Rao (Madhavi).

Ajay Devgan portrays the character of ‘Gaurav Gupta’ (GG), who is highly ambitious. GG, who started his career without a single penny in his pocket and sold his soul for wealth, whereas now he firmly believes that `money` can fuel his ambition. On other side, Shridhan Vardhan or Guruji (Jawed Sheikh) who is an industrial magnate and conceitedly believes that wealth means nothing if not utilized for the betterment of the society. He wants his wealth to be utilized for the upliftment for the tribals in the Sahyadris. In the tug-of-war between GG and Guruji, Jaidev Vardhan (Shahid kapur) the only son of Guruji falls in the trap schemed GG. Jaidev, who is a fresh graduate and a gullible person, GG exploits him by enticing him through super-model Natasha, sketched by sensual Bipasha Basu. While Madhavi (Amrita Rao), who genuinely loves Jaidev observes her love being carried away by the world of wealth, wine and women.
+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+

Sunday, December 11, 2005

ZINDA

ZINDA

After the thrilling success with KAANTE and MUSAFIR, White feather film’s latest venture is ZINDA. As its name suggests it means ALIVE. The film is all about drama complexed with crime, revenge, and psychological thriller. Once again Sanjay Gupta continues the impact of his inevitable trademark of projecting a western theme in a stylish manner, spiked by none other than Sanjay Dutt. Deadly Dutt- the quintessential action hero, is said to have a strong performance in this psyche thriller. This time Sanjay Gupta has also signed John Abraham to add pinch of more style in his movie.

Sanjay Dutt portrays the character Balajeet Roy; all he ever wanted in his life was a promising future, a beautiful wife and to start a new life in Bangkok, which somehow fascinated him. Finally he achieved whatever he desired in life. Balajeet married to Nisha (Celina Jaitley) and they are well settled in Bangkok. A little after they had come to terms with its culture, pace of life and, of course, the trouble to find decent Indian vegetarian food. Nisha was happy to discover that she is expecting.

They live a happy life in Bangkok until one day something bizarre happens to Bala. Bala awakens finding himself locked up in a room not knowing how he got there. Was he put there, or is this place in his head? In this place he is left with a television set only. Unfortunately, the thrill of sharing the good news with her husband was short-lived, as Nisha would never see him again. Because somebody locked him up for 14 years in a dark and dingy room.